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THE. L»BRA,<^ v5Tl 

CONGRESS. 
One Cop* Received I 

SEP. 1? 1903 

CnPYWQHT HNTKY 

*4 ■ *** • No - 

COPY A. 



1) 



y 



4 5 



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PREFACE. 



IT is with much pleasure we present a revised and 
enlarged edition of our little book on wood finish- 
ing. The first issue was so well received that we be- 
lieve this will meet with still wider favor containing as 
it does much new matter of interest to both Architects 
and Wood Finishers. 

We have endeavored to be practical, eliminating 
all matter having no direct bearing on the subject 
treated. 

There is nothing experimental in the methods 
given for the various styles and methods of wood 
finishing, all are based upon actual experience and may 
be relied upon as correct. 

Whatever of value may be found in the hints and 
directions given herein, is in no way impaired because 
we suggest the use of Berry Brothers' Finishes. The 
staining, shellacing, filling, etc., as the case may be, 
are the necessary preludes to a successful finish, what- 
ever varnishes may be used to finish with, and the 
mode of applying and manipulating all interior var- 
nishes is substantially the same. 

We trust our book may serve as a useful refer- 
ence for the Architect in writing his specifications, and 
also that it may not be devoid of interest to* our good 
friends the Decorators and Wood Finishers. 

Copyright 1894 by 

Berry Brothers, Limited. * , 

Second Edition. 



INDEX. 



To finish 


Ash, 


PAGE 

41 

" 51 


< < 


- Birch, 


" 


Butternut, 


53 
- 45 


" 


- Cherry, 


" 


Chestnut, 


38 


t < 


- Cypress, 


57 


" 


Gum wood, 


48 


" 


- Hemlock, 


55 




Mahogany, 


42 


i < 


- Beech, 


- 48 


" 


Maple, 


50 


" 


- Oak, 


J 3 


" 


" Golden, 


^^ - 17 


" 


" English, 


17 


" 


" Sumatra Brown, 


- % 


_ 


" Dutch Brown, 


17 


" 


" Brown Flemish, 


20 


' ' 


" Green Flemish, 


21 


" 


" Ox Blood, 


2 3 


" 


" Forest Green, 


25 


< < 


" Malachite, 


27 


(< 


" Filipino, 


- 28 


< < 


" Austrian, 


29 


" 


" Rotterdam, 


30 


" 


" Weathered, 


30 


" 


" Silver Gray, - 


- 32 


: ;\": # : .;;;: ; 


- • ' ; t : Antique, 


33 


: /•••' /: r «.i i ..^ 


% \\ ^ \ Mission, 


- 35 


••••• > • •»• • 


•• •••••• 










*•••• *•»*• • * 


•• J'i' 





page 



To finish - 


Oak Cathedral, 


- 


37 


" 


" Bog, 


- 


38 


< ( 


" Antwerp, - 


- 


40 


" _ 


Pine, 


- 


59 


" 


Poplar or White wood, 


- 


61 


" 


Prima Vera, 


- 


44 


I 4 


Redwood, 


- 


55 


44 


Sycamore, ... 


- 


47 


" 


Walnut, 


- 


53 


- - 


Whitewood or Poplar, 


- 


61 


i < 


White Mahogany, 


- 


44 


( 4 


Floors, - 


- 


62 


( I 


Outside Doors, Store Fronts, 


etc., 


64 


" 


Window Sash and Sills, 


- 


65 


" 


Inside Binds, 


- 


65 


( i 


Bathrooms, 


- 


65 


" 


Shingles, 


- 


66 


Hard Oil Finish. 


_ 


- 


6 


L,iqrirl Ci<mite, 


. 


- 


8 


mastic Outside Finish 


L, - - - - 


- 


9 


Elastic Interior Finish, 


- 


10 


Shingletint, 


- 


- 


10 


Lacklustre, 


_ 


- 


12 


Dull Finish, 


_ 


- 


67 


Proper Finishing Conditions — See marginal note, 


- 


69 


Poli hed Work 


(< ( < ( < 


- 


70 


Egg Shell Gloss 


< < « ( t ( 


- 


70 


Evils of hurried work 




- 


70 


Why first coat of Stai 


n is sandpapered — See margin 


ial note 


, 7o 


Why second coat of Stain is diluted 


" 


70 


Why a Shellac coat is 


desirable 






before filling 


«< i « 


" 


71 


Refinishing old work, 


(< << 


" 


72 


Greasy surfaces, 


. 


" 


72 



Refinishing church and school seats, 


See marginal note 


72 


Desirability of "White" Hard Oil Finish 




for the finest work, 


( i ( i i< 


73 


Why wood turns dark and how to 






defer it, - 


ii ii 


73 


Use and omission of shellac coat, 


" " »« 


73 


Comparative merits of oil and water 






stains, - - - 


<< •< ii 


74 


Staining old work, 


ii a ii 


74 


Weathered Oak, - - 


" " " 


74 


Various color effects, 


ii ii ii 


74 


Covering capacity of Varnish, 


11 " " 


74 


11 Shellac, 


" " " 


75 


" " " Water Stains, 


" " (< 


75 


" " " Spirit Stains, 


<< ii ii 


75 


" " " Oil Stains, 


ii ii a 


75 


" " " Lacklustre, 


11 " " 


75 


" " " Shingletint, 


< t 


66 


Liquid Fillers ; their use, limitations 






and covering capacity, 


See marginal note 


75 


Paste Fillers — Rules for reducing, 


r i << < < 


76 


" " Covering capacity, 


< < ii ii 


77 


Advice on wood finishing, 


it ii ii 


77 


Free samples of finished woods, 


11 " " 


77 



The Materials- 



Natural Woods 



HARD OIL FINISH. 



'There is but little doubt that to this useful finish- 
ing material the general adoption of natural 
wood finishing for interiors is largely due. 

Its mission is to develop and preserve the natural 
grain of the wood, and impart a finish at once artis- 
tic, elegant and permanent. 

Hard Oil Finish was originated by us; we 
christened it, and are, and always have been, the 
sole manufacturers of it. 

It is made in four shades, White, Light, Walnut 
and Ebony, and there is no limit to its utility for 
general interior finishing purposes. The "White" 
can be used on such light woods as white maple, 
white holly, or any of the delicate tints of porcelain 
enamel, without darkening them; the "Light" is suit- 
able for such woods as oak, ash, chestnut, sycamore, 
etc.; the "Walnut" is for dark woods, while the 
"Ebony" is intended for ebonized work. 



and how to finish them. J 

We desire most particularly to emphasize the fact 
that there is no job of interior finishing too fine to 
permit of the use of Hard Oil Finish. It is equal to 
any and all emergencies; be the wood what it may 
and however important the job, Hard Oil Finish 
will produce the finest results, in the way of a finish, 
attainable on wood. 

By reason of the numerous imitations of Hard 
Oil Finish, many of which are absolutely worthless, 
and all of which differ radically from the genuine 
goods, specifications should always be made to read 
"Berry Brothers' Hard Oil Finish/'' 

It is put up in sealed cans only up to 5 gallons; the 
illustration given below being a reduced fac simile of 
a one gallon can. 




Natural Woods 



LIQUID GRANITE. 

(trade mark.) 



The practice of dispensing with carpets and finish- 
ing floors in natural woods has become so pop- 
ular that an imperative demand has arisen for a 
"Finish" possessing greater elasticity and wearing 
properties than any ordinary varnish. 

Liquid Granite is devised to meet this want ; it is 
an entirely reliable article for use on parquetry and 
natural wood floors, combining as it does the three 
great requisites in a floor finish, elasticity, toughness 
and durability. 

Being transparent it will not obscure the grain of 
the wood, but will develop its beauty and preserve it. 

It will be found superior to any preparation of 
wax, being easier applied, more economical to use 
and making a much more durable finish. 

Liquid Granite is so tough that although wood fin- 
ished with it will dent under a blow, the finish will 
give with it without cracking. 



and how to finish them. 9 

There are in the market a large number of articles 
called floor finish ; there is but one Liquid Gran- 
ite, the name being a registered trade mark, and 
once used it will be used always, as it is the only 
perfect floor finish made. 



ELASTIC OUTSIDE FINISH. 



HThis is intended for store fronts, outside doors, 
and other purposes, where the exposure is exces- 
sive, and will be found superior to anything of the 
kind hitherto offered. 

It is made with special reference to durability 
under exposure to the weather, dries dust free quick- 
ly, and will make either a dead or brilliant finish. 
The official reports made on tests by the Master 
House Painters' and Decorators' Association of the 
United States on twenty-four different makes of out- 
side varnishes, not only commended our Elastic 
Outside Finish, but showed it to dry dust proof 
quicker than any other commended outside varnish 
tested. 

The value of this feature is apparent. 



io Natural Woods 

ELASTIC INTERIOR FINISH. 



This is intended for such interior work as is sub- 
jected to severe exposure or usage. It has many 
of the characteristics of Hard Oil Finish, but is 
tougher and somewhat slower drying. It possesses 
great elasticity, combined with unusual durability, 
and will resist the action of hot water, soap, etc., 
longer than anything else we know of. It is pecu- 
liarly adapted for use on window sash and sills, bath 
rooms, inside blinds, etc., and is also especially suit- 
able for such portions of the interior wood-work as 
are to be left with an unrubbed varnish finish. 

We confidently offer Elastic Interior Finish as 
the best article of its kind yet introduced. 

SHINGLETINT. 

(TRADE mark.) 



C hingle Stains need no introduction. The artistic 
effects produced by their use is well understood, 
as well as their preservative properties, when they 
are scientifically made. 



and how to finish them. n 

Shingletint represents the highest results yet 
attained in the manufacture of Shingle Stains, be- 
ing a scientific combination of linseed oil, coloring 
pigments, creosote oils and the necessary drying 
agents. It possesses great penetrative and preserva- 
tive qualities and prolongs the life of the shingles 
by retarding decay, at the same time imparting an 
artistic finish. 

We can supply Shingletint in the following 
colors, which are indicated by numbers for conven- 
ience in ordering: No. 10 Buff, No. 20 Dark Red, 
No. 30 Light Green, No. 40 Brown, No. 50 Red, No. 
60 Dark Green, No. 70 Light Gray, No. 80 Black, 
No. 90 Moss Green. 

Shingletint contains nothing of a poisonous 
nature, and will not spoil roof water' when collected 
into a cistern for domestic purposes. It is customary 
and advisable, however, to allow the first few rains 
that occur after staining the shingles to run to waste 
so as to wash off the superfluous pigment which 
might otherwise impart an unpleasant taste to the 
water. 

In Shingletint the high water mark of quality 
in Shingle Stains is reached. 



12 Natural Woods 

LACKLUSTRE. 

(TRADE mark.) 



"This is for producing the new dull finish on natural 

woods. 

We have as usual delayed putting out anything of 
the kind until we knew we had, first, the right thing, 
and second, the best thing, and now have pleasure in 
introducing "Lacklustre," which is the most valuable 
finishing material in the market for successfully 
producing the new dull effects. 

Among the good points of Lacklustre are : 

1. It is very pale and will not discolor the lightest 
woods. 

2. It is quite limpid, by which the following ad- 
vantages are secured, ease and rapidity of applica- 
tion, and a much greater covering capacity than is 
possessed by ordinary Varnish or Finish. 

3. It dries in an hour or two with a perfectly dull 
finish and without obscuring the natural grain of the 
wood a particle. 

4. It needs no rubbing, one coat being sufficient to 
produce the proper effect, although additional coats 
may be given if thought desirable. 



and how to -finish them. 13 

The economy effected by the use of Lacklustre 
should commend its use to all lovers of the dull fin- 
ishes so much in vogue now. 

The new style of wood finishing is as well adapted 
to soft woods as hard, and pine, poplar, cypress, and 
similar woods may be beautified at very little expense 
by first staining the wood to the desired color and 
then applying a coat or two of Lacklustre, the fin- 
ished result costing less than paint and being much 
more artistic in appearance. 

Both cypress and yellow pine are susceptible of 
very artistic effects in dull finish, the broad markings 
of rift sawed yellow pine being especially effective. 



OAK 



A mong the many woods used for interior trim none 
have superseded oak in popularity. There are 
substantial reasons for this, as besides its great dura- 
bility oak has a very handsome grain, especially 
when quarter sawed, and this grain being susceptible 
of a greater variety of handsome effects by staining 
than any other wood used for interior finishing pur- 



14 Natural Woods 

poses, it is not to be wondered at that oak has the 
leading place among architectural woods. 

The styles in oak finish change quite frequently, 
old "Finishes" becoming obsolete as new ones are 
introduced. Some styles meet with such favor that 
they become standard, but it is quite out of the ques- 
tion for them all to achieve enduring popularity. 

We propose to make brief mention of such styles 
of oak finish as are in use at the present time, with 
such hints and directions for producing the various 
effects as are likely to be interesting and useful to 
the Architect, the Painter and Decorator. 



GOLDEN OAK. 



This is one of the most popular styles, and bids 
fair to become permanent. There is no univer- 
sally accepted standard of color for it, and it has 
quite a wide latitude as to shade, varying according 
to locality and individual taste. Certain communities 
or manufacturing centers seem to establish a stand- 
ard that has recognition in the markets controlled by 



and how to finish them. 15 

or tributary to them, and outside of that other stand- 
ards prevail, although they are mostly shades or 
modifications of rich brown or yellow, with the 
quarterings more or less prominent and of lighter 
color than the field. 

SPECIFY AS FOLLOWS: 

For an Egg Shell Gloss : — One coat of Berry 
Brothers' Golden Oak Water Stain, allow time to 
dry, then sandpaper lightly with fine sandpaper (to 
bring up the high lights and apply a second coat of 
Stain diluted about one-half with water (which will 
throw the grain into still higher relief, and so pro- 
duce the effect of contrast that constitutes one of 
the features of Golden Oak). Follow with a light 
coat of thin Shellac, sand lightly with fine sand- 
paper, and fill with Berry Brothers' Paste Filler col- 
ored to match, the stain, then give a coat of Orange 
Shellac, sand lightly, and finish with two or three 
coats of Berry Brothers' (White or Light) Hard 
Oil Finish; rub first coats with hair cloth or curled 
hair, and the last coat with pulverized pumice stone 
and crude oil or raw linseed oil. 

For a Dull Finish : — Specify that the last coat 



1 6 Natural Woods 

be rubbed with pulverized pumice stone and water, 
instead of oil. 

For a Polished Finish : — Specify that the last 
coat be rubbed first with pulverized pumice stone 
and water, and then with pulverized rotten stone 
and water, and for a piano finish specify a further 
rubbing with Berry Brothers' Furniture Polish, used 
with a little pulverized rotten stone, applied with a 
piece of soft felt or flannel. 

If a rubbed finish is not desired, omit the specifica- 
tions for rubbing the last coat. 



NOTES. 

The above directions are what is known as dark 
Golden Oak ; light Golden Oak is produced in pre- 
cisely the same manner, except that the Stain is not 
so dark, the filler being the same in either case. 

Use Berry Brothers' Light Paste Filler and bring 
to the right shade by mixing in Burnt Umber and 
Venetian red until the desired color is obtained. 
The right proportion is about 12 ozs. burnt umber 
and 4 ozs. Venetian red to 20 lbs. of light paste 
filler. 



and how to finish them. ij 

GOLDEN OAK. 

• ANOTHER WAY. 

Cill with a coat of Berry Brothers' Golden Oak 
Paste Filler, and follow with a coat of Berry 
Brothers' Golden Oak Granitum and a coat of Shel- 
lac. Sandpaper and finish with two or three coats of 
Berry Brothers' White or Light Hard Oil Finish, in 
the same manner as directed above. 

This method is quicker than some and produces 
a very handsome finish. It may not suit everybody's 
ideas as to what Golden Oak should be, but it is 
artistic and we shall be pleased to send samples of 
finished wood showing what it looks like. 



ENGLISH OAK, SUMATRA BROWN, 
DUTCH BROWN. 

SPECIFY AS FOLLOWS: 

For an Egg Shell Gloss: — One coat of Berry 
Brothers' Water Stain, English Oak, Sumatra 
Brown or Dutch Brown, as the case may be, allow 

[2] 



1 8 Natural Woods 

time to dry, sandpaper lightly with fine sandpaper 
(to bring up the high lights) and apply a second 
coat of stain diluted about one-half with water. Fol- 
low with a light coat of thin Shellac, sand lightly 
with fine sandpaper, and fill with Berry Brothers' 
Dark Paste Filler, then give a coat of Orange Shel- 
lac, sand lightly again, and finish with two or three 
coats of Berry Brothers' (White or Light) Hard 
Oil Finish ; rub first coats with hair cloth or curled 
hair, and the last coat with pulverized pumice stone 
and crude oil or raw linseed oil. 

For a Dull Finish : — Specify that the last coat 
be rubbed with pulverized pumice stone and water, 
instead of oil. 

For a Polished Finish : — Specify that the last 
coat be rubbed first with pulverized pumice stone and 
water, and then with pulverized rotten stone and 
water, and for a piano finish specify a further rub- 
bing with Berry Brothers' Furniture Polish, used 
with a little pulverized rotten stone, applied with a 
piece of soft felt or flannel. 

If a rubbed finish is not desired, omit the speci- 
fications for rubbing the last coat. 



and how to finish them. . 19 

NOTES. 

'"The paste filler for the above is prepared in the 

same manner as for Golden Oak, the same pig- 
ments being used, and practically the same propor- 
tions (12 ozs. burnt umber and 4 ozs. Venetian red 
to 20 lbs. light paste filler), but varied slightly ac- 
cording to the desired result. 

The English Oak comes pretty closely in color to 
the genuine wood, which is a dark brown. 

Sumatra Brown has a noticeable tinge of red in it, 
giving the finish a rich, warm color, the marking 
of the grain also being tinged with a reddish brown 
instead of standing out light as they do on the 
English Oak. 

Dutch Brown is a still warmer color owing to a 
trifle more Venetian Red being used in the filler. 
The grain of the wood shows up very handsomely 
but is strongly tinged with the prevailing color of 
the finish. 

It is the same with the three above named Fin- 
ishes as with others of the Brown and Yellow 
groups; there is no recognized and fixed standard of 
color, so that it is impossible to give exact and 
definite rules. 



20 Natural Woods 



BROWN FLEMISH 



This is a rich, deep brown, somewhat resembling 
the English Oak, but darker in tone. 

SPECIFY AS FOLLOWS: 

For an Egg Shell Gloss: — One coat Berry 
Brothers' Brown Flemish Water Stain. When dry, 
sand lightly with fine sandpaper and apply a second 
coat of Stain reduced about one-half with water. 
Follow with a light coat of thin Shellac, sand lightly 
with fine sand paper, and fill with Berry Brothers' 
light paste filler, tinted to the right shade with Van- 
dyke Brown. Sand lightly with oo sandpaper and 
then give a coat of Orange Shellac, sand lightly 
again and follow with two or three coats of Berry 
Brothers' (White or Light) Hard Oil Finish; rub 
first coats with hair cloth or curled hair, and the 
last coat with pulverized pumice stone and crude oil 
or raw linseed oil. 



and how to finish them. 2\ 

For a Dull Finish : — Specify that the last coat 
be rubbed with pulverized pumice stone and water, 
instead of oil. 

For a Polished Finish : — Specify that the last 
coat be rubbed first with pulverized pumice stone 
and water, and then with pulverized rotten stone and 
water, and for a piano finish specify a further rub- 
bing with Berry Brothers' Furniture Polish, used 
with a little pulverized rotten stone, applied with a 
piece of soft felt or flannel. 

If a rubbed finish is not desired, omit the specifi- 
cations for rubbing the last coat. 



GREEN FLEMISH. 



This is really an old finish under a new name; 
ten years ago it was known as water oak, and 
had quite a following; it gradually died out, how- 
ever, and has during the past year or two been 
revived under the name of "Green Flemish." 

While very sombre in tone, this is a very hand- 
some finish, the general effect being black, but re- 
lieved by high lights of a greenish gray. 



22 . Natural Woods 

SPECIFY AS FOLLOWS: 

For an Egg Shell Gloss: — One coat of Berry 
Brothers' Green Flemish Stain, when dry sand 
lightly with fine sandpaper, and apply a second coat 
of the stain diluted about one-half with water. Fol- 
low with a light coat of thin Shellac, sand lightly 
and fill with black paste filler. Sand lightly again 
with oo sandpaper, and then give a coat of Orange 
Shellac, sandpaper, and follow with two or three 
coats of Berry Brothers' (White or Light) Hard Oil 
Finish; rub first coats with hair cloth or curled 
hair, and the last coat with pulverized pumice stone 
and crude oil or raw linseed oil. 

For a Dull Finish : — Specify that the last coat 
be rubbed with pulverized pumice stone and water, 
instead of oil. 

For a Polished Finish : — Specify that the last 
coat be rubbed first with pulverized pumice stone 
and water, and then with pulverized rotten stone and 
water, and for a piano finish specify a further rub- 
bing with Berry Brothers' Furniture Polish, used 
with a little pulverized rotten stone, applied with a 
piece of soft felt or flannel. 

If a rubbed finish is not desired, omit the specifi- 
cations for rubbing the last coat. 



T 



and hozv to finish them. 23 

NOTES. 

he term Flemish is very indefinite, as the finishes 
known by this name differ widely in appearance, 
Finishers being by no means unanimous as to its 
color, which varies from dead black through a num- 
ber of shades or sub-tints of gray, green, brown and 
blue, the background in all cases being black or very 
dark. 

The two styles of Flemish described above have 
the widest popularity and will be found to fill most 
demands. 

For the Brown Flemish finish use Berry Broth- 
ers' Light Paste Filler colored with Vandyke Brown 
and Venetian Red, in the proportion of 12 ozs. 
Vandyke Brown and 4 ozs. Venetian Red to 20 lbs. 
Light Paste Filler. For the Green Flemish use 
Berry Brothers' Light Paste Filler colored with 
drop black or dry lamp black. 

OX BLOOD. 

This is a comparatively new style of finish, the 
name being indicative of its color, which is a 
bright red. 



24 Natural Woods 

The quarterings show up very nicely and the gen- 
eral effect is bright and showy. 

SPECIFY AS FOLLOWS : 

For an Egg Shell Gloss: — One coat Berry 
Brothers' Ox Blood Water Stain, when dry sand 
lightly with fine sandpaper and then apply a second 
coat of Stain reduced about one-half with water. 
Follow with a light coat of thin Shellac, sand lightly, 
and fill with light paste filler colored to match the 
Stain. When dry sand lightly with oo sandpaper 
and follow with a coat of Orange Shellac. Give 
another light sanding and apply two or three coats 
of Berry Brothers' (White or Light Hard Oil Fin- 
ish ; rub first coats with hair cloth or curled hair, and 
the last coat with pulverized pumice stone and crude 
oil, or raw linseed oil. 

For a Dull Finish : — Specify that the last coat 
be rubbed with pulverized pumice stone and water, 
instead of oil. 

For a Polished Finish : — Specify that the last 
coat be rubbed first with pulverized pumice stone 
and water, and then with pulverized rotten stone and 
water, and for a piano finish specify a further rub- 
bing with Berry Brothers' Furniture Polish, used 



and how to finish them. 25 

with a little pulverized rotten stone, applied with a 
piece of soft felt or flannel. 

If a rubbed finish is not desired, omit the specifi- 
cations for rubbing the last coat. 



NOTES. 

The Filler for the above finish is prepared by 
adding 12 ozs. dry Rose Lake to 20 lbs. of Berry 
Brothers' Light Paste Filler. 



FOREST GREEN. 



Phis is a very handsome finish, although a decided 
novelty in the way of oak finishing. It is a very 
soft color, being a shade of yellow green, somewhat 
resembling the first leaves of spring. 

SPECIFY AS FOLLOWS : 

For an Egg Shell Gloss: — One coat Berry 
Brothers' Forest Green Water Stain. When dry sand 
lightly with fine sandpaper and then apply a coat of 



26 Natural Woods 

Forest Green Water Stain reduced about one-half 
with water. Follow with a light coat of thin Shellac, 
sand lightly and fill with light paste filler colored with 
chrome green in the proportion of one lb. to 20 lbs. 
of Berry Brothers' Light Paste Filler. When dry 
sand lightly with 00 sandpaper and follow with a 
coat of Orange Shellac. Give another light sand- 
ing and apply two or three coats of Berry Brothers' 
(White or Light) Hard Oil Finish; rub first coats 
with hair cloth or curled hair, and the last coat 
with pulverized pumice stone and crude oil or raw 
linseed oil. 

For a Dull Finish : — Specify that the last coat 
be rubbed with pulverized pumice stone and water 
instead of oil. 

For a Polished Finish : — Specify that the last 
coat be rubbed first with pulverized pumice stone 
and water, and then with pulverized rotten stone and 
water, and for a piano finish specify a further rub- 
bing with Berry Brothers' Furniture Polish, used 
with a little pulverized rotten stone, applied with a 
piece of soft felt or flannel. 

If a rubbed finish is not desired, omit the specifi- 
cations for rubbing the last coat. 



and how to finish them. 27 

MALACHITE. 



'T his is also a green finish, but of a different shade 
to Forest Green. It lacks the yellow quality, and 
has a somewhat brighter appearance, the green hav- 
ing a bluish cast. 

SPECIFY AS FOLLOWS : 

For an Egg Shell Gloss : — One coat of Berry 
Brothers' Malachite Water Stain; when dry sand 
lightly with a fine sandpaper and then apply a second 
coat of stain reduced about one-half with water. Fol- 
low with a light coat of thin Shellac, sand lightly and 
fill with light paste filler colored with Chrome green 
in the proportion of one lb. to 20 lbs. of Berry Broth- 
ers' Light Paste Filler. When dry sand lightly 
with 00 sandpaper and follow with a coat of Orange 
Shellac, sand lightly again, and apply two or three 
coats of Berry Brothers' (White or Light) Hard 
Oil Finish ; rub first coats with hair cloth or curled 
hair, and the last coat with pulverized pumice stone 
and crude oil or raw linseed oil. 

For a Dull Finish : — Specify that the last coat 
be rubbed with pulverized pumice stone and water 
instead of oil. 



28 Natural Woods 

For a Polished Finish : — Specify that the last 
coat be rubbed first with pulverized pumice stone 
and water, and then with pulverized rotten stone and 
water, and for a piano finish specify a further rub- 
bing with Berry Brothers' Furniture Polish, used 
with a little pulverized rotten stone, applied with a 
piece of soft felt or flannel. 

If a rubbed finish is not desired, omit the specifi- 
cations for rubbing the last coat. 



FILIPINO 



A new shade, the general tone of which is very 
dark, the field black and the marking of the 
grain a sort of dark, mossy green. 

This style of finish calls for no varnish, always 
appearing as one of the dull effects. 

SPECIFY AS FOLLOWS : 

One coat of Berry Brothers' Filipino Water Stain ; 
wipe off before it soaks in too much, and sand with 
fine sandpaper. Follow with a coat of black paste 
filler and a coat of "Lacklustre." 



and how to finish them. 29 



AUSTRIAN 



"This is a shade of grayish brown with the grain 
faintly showing through in nearly the same color. 
It is always finished dull, no varnish being used. 

SPECIFY AS FOLLOWS: 

One coat of Berry Brothers' Austrian Oak Stain, 
sand lightly with fine sandpaper and then apply a 
coat of black paste filler, followed by a light coat of 
thin White Shellac in which a little black has been 
dissolved, and a coat of "Lacklustre." 



NOTES. 

T is important to follow explicitly our direc- 
tions for using a thin shellac coat, as it is 
merely intended in this case to act as a binder for 
the filler coat, and should dry flat so as not to spoil 
the dull effect of the finish. 



30 Natural Woods 

ROTTERDAM 



This is a very dark finish, something on the Black 
Flemish order, with the grain showing through in 
a sort of yellowish white like discolored white pine. 
The desired effect demands an absolutely dull sur- 
face and is never seen in a varnish or gloss finish. 

SPECIFY AS FOLLOWS: 

One coat of Berry Brothers' Rotterdam Water 
Stain, sand lightly with fine sandpaper and apply a 
coat of black paste filler, followed by a coat of 
"Lacklustre." 



WEATHERED OAK. 



This style of finish changes continually, and there 
is absolutely no standard of any kind for it. It 
is one of the dull finishes and is never varnished. 

A year ago the weathered oak in favor was almost 
black ; this was followed by a color or shade resem- 



and how to finish them. 31 

bling the gray bark of trees, and just now a number 
of shades of brown pass for weathered oak. Under 
these circumstances we shall only attempt to de- 
scribe the variety of weathered oak that has the wid- 
est popularity. 

The field is a sort of yellowish green, the open 
grain of the wood black and the quarterings of the 
grain a yellowish white. 

SPECIFY AS FOLLOWS: 

One coat Berry Brothers' Weathered Oak Oil 
Stain, sand lightly with fine sandpaper and apply a 
coat of "Lacklustre." 



NOTES. 

1 n producing the weathered oak effect especial care 
must be taken that the Stain coat is absolutely dry 
before applying the finishing coat of "Lacklustre." 

Whether on oak, ash, or chestnut, no filler is used 
in making the weathered oak finish, the proper effect 
being produced by the Stain and "Lacklustre" only. 



32 Natural Woods 

SILVER GRAY. 



"" his is one of the dull effects and is never seen in 
a gloss finish. 

It belongs in reality to the "Weathered" Oak 
group, but owing to its distinctive style it has be- 
come known as Silver Gray. 

Its appearance is fairly described by the name, 
which is a light gray with, the quarterings showing 
through in the same general color tone, but a trifle 
on the yellow order. 

For producing the desired effect 

SPECIFY AS FOLLOWS : 

Sandpaper the work to be finished with fine sand- 
paper, dust off carefully and apply a coat of Berry 
Brothers' Silver Gray Water Stain. When dry give 
a light coat of thin shellac, sand lightly with fine 
sandpaper and fill with Berry Brothers' Light Paste 
Filler, to which add a little flake white in Japan; 
when the filler is dry finish with a coat of "Lack- 
lustre." 



and hozv to finish them. 33 



NOTES. 



T t will be seen the above process demands a coat 
of shellac, but we expressly specify that it must 
be thin. Its use in this case is merely to prevent 
the stain from being discolored by the filler which 
would spoil the silver gray appearance. The shel- 
lac must also be thin enough to dry flat, or it will 
mar the dull effect which is an essential feature 
of this style of finish. 

ANTIQUE. 



D erhaps no style of Oak Finish has a wider lati- 
tude as to color than the so-called "Antique," and 
there is no fixed standard for it otherwise than it is 
brown or some modification of it, and the only solu- 
tion of the point is for the finisher to defer to the 
wishes of his patron. "Antique" Oak may be 
stained or not as may be desired, and a popular shade 
of "Antique" may be had by simply filling the grain 
of the wood with dark or Antique paste filler, follow- 
ing with a coat of Shellac, and finishing in the regu- 
lar way. 

[3] 



34 Natural Woods 

If other effects are wanted, the wood should be 
stained and treated in the same manner as for 
Golden, English and other styles of oak, ■ 

SPECIFY AS FOLLOWS : 

For an Egg Shell Gloss: — One coat Berry 
Brothers' Antique Oak Water Stain, when dry sand 
lightly with fine sandpaper, and then apply a second 
coat Antique Oak Stain diluted about one-half with 
water. Follow with a light coat of thin Shellac, sand 
lightly and fill with light paste filler colored to the de- 
sired shade with Van Dyke Brown and Venetian 
Red in the proportion of 12 oz. Van Dyke Brown 
and 4 oz. Venetian Red to 20 lbs. Berry Brothers' 
Light Paste Filler. When dry sand lightly with 
00 sandpaper and follow with a coat of Orange 
Shellac, sand lightly again and apply two or three 
coats of Berry Brothers' (White or Light) Hard 
Oil Finish; rub first coats with hair cloth or curled 
hair, and the last coat with pulverized pumice stone 
and crude oil or raw linseed oil. 

For a Dull Finish : — Specify that the last coat 
be rubbed with pulverized pumice stone and water, 
instead of oil. 



and how to finish them. 35 

For a Polished Finish : — Specify that the last 
coat be rubbed first with pulverized pumice stone 
and water, and then with pulverized rotten stone and 
water, and for a piano finish specify a further rub- 
bing with Berry Brothers' Furniture Polish, used 
with a little pulverized rotten stone, applied with a 
piece of soft felt or flannel. 

If a rubbed finish is not desired, omit the specifi- 
cations for rubbing the last coat. 



MISSION OAK. 



SPECIFY AS FOLLOWS: 

For an Egg Shell Gloss : — One coat of Berry 
Brothers' Mission Oak Water Stain, when dry sand 
with fine sandpaper and apply a second coat of Stain 
diluted about one-half with water. Follow with a 
light coat of thin Shellac, sand lightly and fill with 
Berry Brothers' paste filler to match the color of the 
stain. When dry sand lightly with oo sandpaper, 
and give a coat of Orange Shellac. Sand lightly 
again and follow with two or three coats of Berry 
Brothers' (White or Light) Hard Oil Finish; rub 



36 Natural Woods 

first coats with haircloth or curled hair, and the last 
coat with pulverized pumice stone and crude oil or 
raw linseed oil. 

For a Polished Finish : — Specify that the last 
coat be rubbed first with pulverized pumice stone 
and water, and then. with pulverized rotten stone 
and water, and for a piano finish specify a further 
rubbing with Berry Brothers' Furniture Polish, used 
with a little pulverized rotten stone, applied with a 
piece of soft felt or flannel. 

If a rubbed finish is not desired, omit the specifi- 
cations for rubbing the last coat. 



NOTES. 

C or the above finish use Berry Brothers' Light 
Paste Filler colored with Umber and Venetian 
Red; 12 ounces of Umber and 4 ounces of Venetian 
Red to 20 pounds of filler will give about the shade 
required. 

The color of "Mission Oak" is a shade between the 
"English" and "Dark Golden" finishes, the quarter- 
ings being in less pronounced contrast to the field 
than in either the "Dark Golden" or "English" 
finishes. 



and how to finish them. 37 

CATHEDRAL OAK. 



SPECIFY AS FOLLOWS: 

For an Egg Shell Gloss: — One coat of Berry 
Brothers' Cathedral Oak Water Stain; when dry 
sand with fine sandpaper and apply a second coat of 
the stain diluted about one-half with water. Follow 
with a thin coat of Shellac, sand lightly and fill 
with Berry Brothers' paste filler to match the color 
of the stain. When dry sand lightly with 00 sand- 
paper and apply a coat of Orange Shellac. Sand 
lightly again and follow with two or three coats of 
Berry Brothers' (White or Light) Hard Oil Finish: 
rub first coats with hair cloth or curled hair, and 
the last coat with pulverized pumice stone and crude 
oil or raw linseed oil. 

For a Dull Finish : — Specify that the last coat 
be rubbed with pulverized pumice stone and water, 
instead of oil. 

For a Polished Finish : — Specify that the last 
coat be rubbed first with pulverized pumice stone 
and water, and then with pulverized rotten stone 
and water, and for a piano finish specify a further 
rubbing with Berry Brothers' Furniture Polish, used 



38 Natural Woods 

with a little pulverized rotten stone, applied with a 
piece of soft felt or flannel. 

If a rubbed finish is not desired, omit the specifi- 
cations for rubbing the last coat. 



NOTES. 

The color tone of this style of finish is on the 
same order as "Brown Flemish," the field being 
as dark, but the general effect a trifle less sombre by 
reason of the quarterings being lighter and showing 
up in higher relief. 

For this finish use Berry Brothers' Light Paste 
Filler colored with Van Dyke Brown in the propor- 
tion of 1 lb. to 20 lbs. filler. 



BOG OAK. 



T^his is quite a handsome style of finish, although 
very dark in tone, the field being black and the 
quarterings showing through in a shade of yellowish 
green. 



and how to finish them. 39 

SPECIFY AS FOLLOWS: 

For an Egg Shell Gloss : — One coat Berry 
Brothers' Bog Oak Water Stain, allow time to dry, 
sand with fine sandpaper and then apply a second 
coat of Stain diluted about one-half with water. 
Follow with a light coat of thin Shellac, sand lightly 
and fill with black paste filler ; when dry sand light- 
ly with 00 sandpaper and follow with a coat of 
Orange Shellac, sand again and apply two or three 
coats of Berry Brothers' (White or Light) Hard 
Oil Finish; rub first coats with hair cloth or curled 
hair, and the last coat with pulverized pumice stone 
and crude oil or raw linseed oil. 

For a Dull Finish : — Specify that the last coat 
be rubbed with pulverized pumice stone and water, 
instead of oil. 

For a Polished Finish : — Specify that the last 
coat be rubbed first with pulverized pumice stone 
and water, and then with pulverized rotten stone 
and water, and for a piano finish specify a further 
rubbing with Berry Brothers' Furniture Polish, used 
with a little pulverized rotten stone, applied with a 
piece of soft felt or flannel. 

If a rubbed finish is not desired, omit the specifi- 
cations for rubbing the last coat. 



40 Natural Woods 

ANTWERP OAK. 



SPECIFY AS FOLLOWS : 

One coat of Berry Brothers' Silver Gray Water 
Stain, when dry sand lightly with No. oo pol- 
ishing paper, and apply a coat of Berry Brothers' 
Golden Oak Oil Stain. Wipe off the stain with a 
pad of waste, allow it to dry over night and then 
apply a coat of Berry Brothers' Ebony Paste Filler ; 
allow this to stand 24 hours, then sandpaper lightly 
and apply a thin coat of White Shellac. When this 
is dry sand lightly and give a coat of "Lacklustre." 



NOTES. 

HThis is one of the dull finishes and is never var- 
nished. The general color tone is very dark 
brown, the black filler emphasizing the sombre ef- 
fect, which, however, is relieved somewhat by the 
markings which show through in a lighter brown 
than the prevailing shade. 

Care should be taken that the shellac coat above 
specified is very thin, as it should dry without gloss, 
so as not to interfere with the dull finish effect. 



and how to finish them. 41 

ASH, CHESTNUT. 



These are open grained woods and require filling. 
When it is desired to finish in the natural color 
without staining, 

. SPECIFY AS FOLLOWS : 

For an Egg Shell Gloss : — One coat of Berry 
Brothers' Light Paste Filler, followed by one 
coat of White Shellac sandpapered to a smooth sur- 
face, and two or three coats of Berry Brothers' 
(White or Light) Hard Oil Finish; rub first coats 
with hair cloth or curled hair, and the last coat with 
pulverized pumice stone and crude oil or raw lin- 
seed oil. 

For a Dull Finish : — Specify that the last coat 
be rubbed with pulverized pumice stone and water, 
instead of oil. 

For a Polished Finish : — Specify that the last 
coat be rubbed first with pulverized pumice stone and 
water, and then with pulverized rotten stone and 
water, and for a piano finish specify a further rub- 
bing with Berry Brothers' Furniture Polish, used 



42 Natural Woods. 

with a little pulverized rotten stone, applied with a 
piece of soft felt or flannel. 

If a rubbed finish is not desired, omit the specifica- 
tions for rubbing the last coat. 



NOTES. 

Doth Ash and Chestnut are susceptible of rich and 
varied effects by staining, the large open grain and 
broad markings, especially on the chestnut, lending 
themselves to very artistic treatment. Both these 
woods can be handled by the finisher in precisely the 
same manner as oak, using the same stains and em- 
ploying the same methods as described in the pre- 
ceding pages on Oak. 



MAHOGANY. 



This belongs to the open grained woods and re- 
quires filling. 

SPECIFY AS FOLLOWS : 

For an Egg Shell Gloss: — One coat of Berry 
Brothers' Paste Filler to match the color of the 
wood, followed by a coat of Orange Shellac sand- 



and how to finish them. 43 

papered to a smooth surface, and two or three 
coats of Berry Brothers' (White or Light) Hard 
Oil Finish ; rub first coats with hair cloth or curled 
hair, and the last coat with pulverized pumice stone 
and crude oil or raw linseed oil. 

For a Dull Finish : — Specify that the last coat 
be rubbed with pulverized pumice stone and water, 
instead of oil. 

For a Polished Finish : — Specify that the last 
coat be rubbed first with pulverized pumice stone and 
water, and then with pulverized rotten stone and 
water, and for a piano finish specify a further rub- 
bing with Berry Brothers' Furniture Polish, used 
with a little pulverized rotten stone, applied with a 
piece of soft felt or flannel. 

If a rubbed finish is not desired, omit the specifi- 
cations for rubbing the last coat. 



NOTES. 

T f it is required to deepen the natural color of 
Mahogany, it can be done by using a light filler 
darkened with burnt sienna to the desired tint. 

If "antique" or dark Mahogany is required, pre- 
cede the filling by staining the wood with a solution 



44 Natural Woods 

of bi-chromate of potash and water, or a coat of 
Berry Brothers' Mahogany Stain. 

Much of the so-called Mahogany in present use is 
in reality Baywood or American Mahogany, as it is 
called. This wood is very much lighter in color than 
true Mahogany and is rather cold and insipid in tone 
when finished in the natural color. 

PRIMA VERA OR WHITE MAHOGANY. 



r his wood is open grained and must be filled. 
It is invariably finished in the natural color, as 
staining would mar its delicate shade and markings. 

SPECIFY AS FOLLOWS : 

For an Egg Shell Gloss : — One coat of Berry 
Brothers' Light Paste Filler, followed by one 
coat of White Shellac sandpapered to a smooth sur- 
face and two or three coats of Berry Brothers' White 
Hard Oil Finish; rub first coats with hair cloth or 
curled hair, and the last coat with pulverized pumice 
stone and crude oil or raw linseed oil. 

For a Dull Finish : — Specify that the last coat- 
be rubbed with pulverized pumice stone and water, 
instead of oil. 



and how to finish them. 45 

For a Polished Finish : — Specify that the last 
coat be rubbed first with pulverized pumice stone and 
water, and then with pulverized rotten stone and 
water, and for a piano finish specify a further rub- 
bing with Berry Brothers' Furniture Polish, used 
with a little pulverized rotten stone, applied with a 
piece of soft felt or flannel. 

If a rubbed finish is not desired, omit the specifi- 
cations for rubbing the last coat. 



CHERRY. 



"T his is a close grained wood and requires no 
filling. When it is desired to finish in the na- 
tural color, 

SPECIFY AS FOLLOWS : 

For an Egg Shell Gloss : — One coat of Orange 
Shellac sandpapered to a smooth surface, followed 
by two or three coats of Berry Brothers' (White or 
Light) Hard Oil Finish; rub first coats with hair 
cloth or curled hair, and the last coat with pulverized 
pumice stone and crude oil or raw linseed oil. 



46 Natural Woods 

For a Dull Finish : — Specify that the last coat 
be rubbed with pulverized pumice stone and water, 
instead of oil. 

For a Polished Finish : — Specify that the last 
coat be rubbed first with pulverized pumice stone and 
water, and then with pulverized rotten stone and 
water, and for a piano finish specify a further rub- 
bing with Berry Brothers'. Furniture Polish, used 
with a little pulverized rotten stone, applied with a 
piece of soft felt or flannel. 

If a rubbed finish is not desired, omit the specifi- 
cations for rubbing the last coat. 



NOTES. 
A lthough Cherry is a very beautiful wood in its 
natural state, some tastes may prefer a deeper 
color, which necessitates the staining of the wood to 
the desired shade. In such cases precede the Shellac 
coat with a coat of Berry Brothers' Stain, Cherry 
or Mahogany, as may be desired. 

If the wood is required to be finished up as light 
as possible, specify White Shellac instead of Orange 
Shellac and omit staining. 



and how to finish them. 47 

SYCAMORE. 



Phis wood is usually quarter sawed for finishing 

purposes; it is almost invariably finished in the 

natural color, and being close grained, needs no filler. 

SPECIFY AS FOLLOWS : 

For an Egg Shell Gloss : — One coat of Shellac, 
(White Shellac if the natural color of the wood is 
to be preserved, or Orange Shellac if the wood is 
desired to be a little darker in tone), sandpaper to 
a smooth surface and follow with two or three coats 
of Berry Brothers' (White or Light) Hard Oil 
Finish (specify White Hard Oil Finish if the natu- 
ral color of the wood is to be retained) ; rub first 
coats with hair cloth or curled hair, and the last coat 
with pulverized pumice stone and crude oil or raw 
linseed oil. 

For a Dull Finish : — Specify that the last coat 
be rubbed with pulverized pumice stone and water, 
instead of oil. 

For a Polished Finish : — Specify that the last 
coat be rubbed first with pulverized pumice stone and 
water, and then with pulverized rotten stone and 
water, and for a piano finish specify a further rub- 



48 Natural Woods 

bing with Berry Brothers' Furniture Polish, used 
with a little pulverized rotten stone, applied with a 
piece of soft felt or flannel. 

If a rubbed finish is not desired, omit the specifi- 
cations for rubbing the last coat. 



BEECH. 



T^ his wood, while not extensively used hitherto 
in architectural work, is now being brought 
forward for interior trim, and makes a very hand- 
some appearance when properly treated, especially 
when quarter sawed. 

It is close grained and needs no filling. 

SPECIFY AS FOLLOWS: 

For an Egg Shell Gloss : — One coat of White 
Shellac sandpapered to a smooth surface, followed 
by two or three coats of Berry Brothers' (White or 
Light) Hard Oil Finish; rub first coats with hair 
cloth or curled hair and the last coat with pulverized 
pumice stone and crude oil or raw linseed oil. 

For a Dull Finish : — Specify that the last coat 



and how to finish them. 49 

be rubbed with pulverized pumice stone and water, 
instead of oil. 

For a Polished Finish : — Specify that the last 
coat be rubbed with pulverized pumice stone and 
water, and then with pulverized rotten stone and 
water, and for a piano finish specify a further rub- 
bing with Berry Brothers' Furniture Polish, used 
with a little pulverized rotten stone, applied with a 
piece of soft felt or flannel. 

If a rubbed finish is not desired, omit the speci- 
fications for rubbing the last coat. 



NOTES. 

r he above specifications provide for finishing the 
wood in the natural color, but if desired hand- 
some effects can be produced by staining. 

The wood takes Mahogany and Walnut Stains 
very well, and an excellent "Cherry" can be made 
with the Red Beech. 

When this wood is stained specify Orange Shellac 
and precede the shellac coat with a coat of Berry 
Brothers' Stain, "Mahogany," "Cherry," "Walnut" 
or otherwise, as may be preferred. 

[4] 



50 Natural Woods 

MAPLE. 



'"This is close grained and does not require filling. 
For finishing in the natural color, 

^SPECIFY AS FOLLOWS : 

For an Egg Shell Gloss : — One coat of White 
Shellac sandpapered to a smooth surface, followed 
by two or three coats of Berry Brothers' White Hard 
Oil Finish; rub first coats with hair cloth or curled 
hair, and the last coat with pulverized pumice stone 
and crude oil or raw linseed oil. 

For a Dull Finish : — Specify that the last coat 
be rubbed with pulverized pumice stone and water, 
instead of oil. 

For a Polished Finish : — Specify that the last 
coat be rubbed first with pulverized pumice stone and 
water, and then with pulverized rotten stone and 
water, and for a piano finish specify a further rub- 
bing with Berry Brothers' Furniture Polish, used 
with a little pulverized rotten stone, applied with a 
piece of soft felt or flannel. 

If a rubbed finish is not desired, omit the specifi- 
cations for rubbing the last coat. 



and hozv to finish them. 5 1 

NOTES. 

A/\ aple is susceptible of very rich effects in Cherry 
and Mahogany by staining. If stained, spec- 
ify Orange Shellac, and precede the Shellac coat with 
a coat of Berry Brothers' Oil Stain, "Cherry" or 
"Mahogany," as may be desired. 



T 



BIRCH. 



his is a close grained wood and needs no filling. 
For finishing in the natural color. 



SPECIFY AS, FOLLOWS: 

For an Egg Shell Gloss : — One coat of White 
Shellac sandpapered to a smooth surface, followed 
by two or three coats of Berry Brothers' (White or 
Light) Hard Oil Finish; rub first coats with hair 
cloth or curled hair, and the last coat with pulverized 
pumice stone and crude oil or raw linseed oil. 

For a Dull Finish : — Specify that the last coat 
be rubbed with pulverized pumice stone and water, 
instead of oil. 



52 Natural Woods 

For a Polished Finish : — Specify that the last 
coat be rubbed first with pulverized pumice stone and 
water, and then with pulverized rotten stone and 
water, and for a piano finish specify a further rub- 
bing with Berry Brothers' Furniture Polish, used 
with a little pulverized rotten stone, applied with a 
piece of soft felt or flannel. 

If a rubbed finish is not desired, omit the specifi- 
cations for rubbing the last coat. 



NOTES. 

T f a deeper tone is required specify Orange Shellac 
instead of White Shellac. 

Birch also takes stain very nicely if the right kind 
is used. Cherry and Mahogany look particularly 
well on Birch. If stained specify Orange Shellac, 
and precede the Shellac coat with a coat of Berry 
Brothers' Stain, "Cherry," "Mahogany," or other- 
wise, as may be desired. 



and how to -finish them. 53 

WALNUT, BUTTERNUT. 

Doth of the above are open grained woods and 

require filling. 
SPECIFY AS FOLLOWS: 

For an Egg Shell Gloss: — One coat of Berry 
Brothers' Paste Filler to match the color of the 
wood, followed by a coat of Orange Shellac sand- 
papered to a smooth surface, and two or three coats 
of Berry Brothers' (White or Light) Hard Oil 
Finish ; rub first coats with hair cloth or curled hair, 
and the last coat with pulverized pumice stone and 
crude oil or raw linseed oil. 

For a Dull Finish : — Specify that the last coat 
be rubbed with" pulverized pumice stone and water, 
instead of oil. 

For a Polished Finish : — Specify that the last 
coat be rubbed first with pulverized pumice stone and 
water, and then with pulverized rotten stone and 
water, and for a piano finish specify a further rub- 
bing with Berry Brothers' Furniture Polish, used 
with a little pulverized rotten stone, applied with a 
piece of soft felt or flannel. 

If a rubbed finish is not desired, omit the specifi- 
cations for rubbing the last coat. 



54 Natural Woods 

GUM WOOD. 



This is close grained and needs no filling. 

SFECIFY AS FOLLOWS: 

For an Egg Shell Gloss : — One coat of Orange 
Shellac sandpapered to a smooth surface, followed 
by two or three coats of Berry Brothers' (White or 
Light) Hard Oil Finish; rub first coats with hair 
cloth or curled hair, and the last coat with pulverized 
pumice stone and crude oil or raw linseed oil. 

For a Dull Finish : — Specify that the last coat 
be rubbed with pulverized pumice stone and water, 
instead of oil. 

For a Polished Finish : — Specify that the last 
coat be rubbed first with pulverized pumice stone and 
water, and then with pulverized rotten stone and 
water, and for a piano finish specify a further rub- 
bing with Berry Brothers' Furniture Polish, used 
with a little pulverized rotten stone, applied with a 
piece of soft felt or flannel. 

If a rubbed finish is not desired, omit the specifi- 
cations for rubbing the last coat. 



and how to finish them. 55 

NOTES. 

"The above specifications provide for finishing the 

wood in its natural color. 

Gum Wood can also be stained quite successfully 
and looks very handsome when properly done. Ma- 
hogany and Cherry are the most popular stains for 
this wood. If stained, specify Orange Shellac, and 
precede the Shellac coat with a coat of Berry Broth- 
ers* Stain, "Mahogany," "Cherry," or otherwise, as 
may be preferred. 

REDWOOD. 



This is a close grained wood and needs no filling. 

SPECIFY AS FOLLOWS: 

For an Egg Shell Gloss : — One coat of Orange 
Shellac sandpapered to a smooth surface, followed by 
two or three coats of Berry Brothers' (White or 
Light) Hard Oil Finish; rub first coats with hair 
cloth or curled hair, and the last coat with pulverized 
pumice stone and crude oil or raw linseed oil. 



56 Natural Woods 

For a Dull Finish : — Specify that the last coat 
be rubbed with pulverized pumice stone and water, 
instead of oil. 

For a Polished Finish : — Specify that the last 
coat be rubbed first with pulverized pumice stone and 
water, and then with pulverized rotten stone and 
water, and for a piano finish specify a further rub- 
bing with Berry Brothers' Furniture Polish, used 
with a little pulverized rotten stone, applied with a 
piece of soft felt or flannel. 

If a rubbed finish is not desired, omit the specifi- 
cations for rubbing the last coat. 



NOTES. 

T^he above specifications provide for finishing the 
wood in the natural color, but very handsome 

effects can be produced by staining. 

If staining is required, precede the Shellac coat 

with a coat of Berry Brothers' Stain, "Mahogany," 

"Cherry," or otherwise, as may be wished. 

If it is desired to finish up the wood as light as 

possible specify White Shellac instead of Orange 

Shellac and omit staining. 



and how to finish them. 57 



CYPRESS. 



"T his is a close grained wood and needs no filling. 
For finishing in the natural color, 

SPECIFY AS FOLLOWS: 

For an Egg Shell Gloss : — One coat of White 
Shellac sandpapered to a smooth surface, followed 
by two or three coats of Berry Brothers' (White or 
Light) Hard Oil Finish; rub first coats with hair 
cloth or curled hair, and the last coat with pulver- 
ized pumice stone and crude oil or raw linseed oil. 

For a Dull Finish : — Specify that the last coat 
be rubbed with pulverized pumice stone and water, 
instead of oil. 

For a Polished Finish : — Specify that the last 
coat be rubbed first with pulverized pumice stone and 
water, and then with pulverized rotten stone and 
water, and for a piano finish specify a further rub- 
bing with Berry Brothers' Furniture Polish, used 



58 Natural Woods 

with a little pulverized rotten stone, applied with a 
piece of soft felt or flannel. 

If a rubbed finish is not desired, omit the specifi- 
cations for rubbing the last coat. 



NOTES. 

[Fa little deeper tone than the natural color of 
the wood is desired, specify Orange Shellac in- 
stead of White Shellac. Very rich effects can also be 
produced on Cypress by staining, individual taste 
governing the choice as to color. 

There is a quality inherent in Cypress not met 
with in other woods, consisting of a peculiar greasy 
appearance on the surface. It is overcome in various 
ways by wood finishers, but we have found a second 
coat of Shellac following the first, quite effective. 

If the wood is to be stained, specify Orange Shel- 
lac, and precede the Shellac Coat with a coat of 
Berry Brothers' Stain, "Cherry," "Mahogany," or 
otherwise, as may be desired. 



and how to finish them. 59 

PINE. 



This being a close grained wood needs no filling. 
For finishing in the natural color, 

SPECIFY AS FOLLOWS: 

For an Egg Shell Gloss : — One coat of Shellac 
(White Shellac if the natural color of the wood is to 
be preserved, or Orange Shellac if the wood is to be 
stained, or is desired to be darker in tone than the 
natural color), sandpaper to a smooth surface, and 
follow with two or three coats of Berry Brothers' 
(White or Light) Hard Oil Finish; (specify White 
Hard Oil Finish if it is desired to retain the natural 
color of White Pine) ; rub first coats with hair cloth 
or curled hair, and the last coat with pulverized 
pumice stone and crude oil or raw linseed oil. 

For a Dull Finish : — Specify that the last coat 
be rubbed with pulverized pumice stone and water, 
instead of oil. 

For a Polished Finish : — Specify that the last 
coat be rubbed first with pulverized pumice stone and 



60 Natural Woods 

water, and then with pulverized rotten stone and 
water, and for a piano finish specify a further rub- 
bing with Berry Brothers' Furniture Polish, used 
with a little pulverized rotten stone, applied with a 
piece of soft felt or flannel. 

If a rubbed finish is not desired, omit the specifi- 
cations for rubbing the last coat. 



, NOTES. 

T^he first coat of Shellac should never be omitted 

on Pine, as it serves to kill the sap or pitch, which 
might otherwise, in the course of time, ooze out and 
mar the finish. 

If it is desired to retain the clear, bright color of 
Pine, never apply a first coat of linseed oil, as this 
will in time cause the wood to turn dark and present 
an unsightly appearance. 

If the wood is to be stained, specify Orange Shel- 
lac and precede the Shellac coat with a coat of Berry 
Brothers' Oil Stain of the required shade. 

It may be here remarked that Georgia or Southern 
Pine is much more susceptible of rich and beautiful 
effects by staining than is White Pine. 



and how to finish them. 61 

WHITEWOOD OR POPLAR, HEMLOCK. 



Doth of these woods are close grained and need 
no filling. 

SPECIFY AS FOLLOWS: 

For an Egg Shell Gloss : — One coat of White 
Shellac sandpapered to a smooth surface, followed 
by two or three coats of Berry Brothers' (White or 
Light) Hard Oil Finish; rub first coats with hair 
cloth or curled hair, and the last coat with pulverized 
pumice stone and crude oil or raw linseed oil. 

For a Dull Finish : — Specify that the last coat 
be rubbed with pulverized pumice stone and water, 
instead of oil. 

For a Polished Finish : — Specify that the last 
coat be rubbed first with pulverized pumice stone and 
water, and then with pulverized rotten stone and 
water, and for a piano finish specify a further rub- 
bing with Berry Brothers' Furniture Polish, used 
with a little pulverized rotten stone, applied with a 
piece of soft felt or flannel. 

If a rubbed finish is not desired, omit the specifi- 
cations for rubbing the last coat. 



62 Natural Woods 

NOTES. 

T^hese specifications are for finishing the above 
woods in the natural color. If a deeper tone is 

desired specify Orange Shellac instead of White 

Shellac. 

These woods are sometimes stained, individual 

taste dictating the shade or color. 

When staining is desired, specify Orange Shellac, 

and precede the Shellac coat with a coat of Berry 

Brothers' Stain of the required shade. 



FLOOR FINISHING. 



C or coarse or open grained woods, 

SPECIFY AS FOLLOWS: 

Fill with Berry Brothers' paste filler to match the 
color of the wood, wipe off clean, and apply two 
coats of Berry Brothers' "Liquid Granite A," taking 
care that the first coat is thoroughly hard before ap- 
plying the second; rub the second coat down with 
pulverized pumice stone and crude oil or raw lin- 



and hozv to finish them. 63 

seed oil, and then wipe the floor perfectly dry and 
clean, so that no trace of oil remains to catch the 
dirt. ' 

For close grained woods specify as above, but omit 
the filler. 

NOTES: 
T f color effects are wanted on floors the finishing- 
should be preceded by staining, as directed herein 
for the various woods. 

In using such a tough and elastic Finish as "Liquid 
Granite" it should be remembered that it cannot 
harden so quickly as varnishes possessing less elas- 
ticity, and care should be taken not to apply it too 
heavily or the drying will be unnecessarily retarded. 
A light coat is as efficacious as a heavy coat and is 
always to be preferred. 

For refinishing a floor and for linoleum use 
"Liquid Granite B." 

It is well to give old linoleum a thin coat of Shel- 
lac before applying the Liquid Granite. The reason 
for this is that places where the original surface of 
the linoleum is worn off are more or less spongy, 
and the Shellac coat stops the suction, making a hard 
uniform surface to finish on. 



64 Natural Woods 

OUTSIDE DOORS, STORE FRONTS, Etc. 



Cor work of this character, if the finish is to be in 
natural woods. 

SPECIFY AS FOLLOWS : 

One coat of Berry Brothers' Paste Filler to match 
the color of the wood, followed by three or four 
coats of Berry Brothers' Elastic Outside Finish. Al- 
low each coat to get thoroughly hard before applying 
another, and rub each coat, except the last, with hair 
cloth or curled hair. The last coat to be rubbed 
with pulverized pumice stone and oil or water in the 
same manner as specified for Hard Oil Finish. 

Although Elastic Outside Finish dries naturally to 
a handsome gloss, rubbing down as above directed 
improves the appearance and adds to the durability 
of the finish. 

NOTES. 
^Jnly coarse or open grained woods need filling. 



and hozv to finish them. 65 

On new painted or grained work specify as above, 
and also add that all under coats must be thoroughly 
hard before applying the finish. 

For old work the specifications should read the 
same as for new painted or grained work, but specify 
in addition that before finishing, the work be well 
sandpapered and cleaned. 

It is of the utmost importance that each and every 
coat is thoroughly hard before applying another, as 
otherwise the finish is liable to crack. 

WINDOW SASH AND SILLS, BATH 
ROOMS, INSIDE BLINDS, Etc. 



The wood should be shellaced, or filled, either, or 
both, according to the wood to be finished, in 
the same manner as heretofore described, and then 
receive two or three coats of Berry Brothers' Elas- 
tic Interior Finish, applied and manipulated in the 
same manner as our Hard Oil Finish. 

Refer to index for the wood to be finished, and 
word specifications in the manner directed, only sub- 
stituting "Berry Brothers' Elastic Interior Finish" 
for "Hard Oil Finish." 

[5] 



65 Natural Woods 



SHINGLES. 



To get the best results in staining shingles they 
should receive one dipping of " Shingletinf be- 
fore being laid, and one brush coat after laying. 
It is only necessary to dip shingles two-thirds of 
their length. 

Shingles that are laid before staining should re- 
ceive not less than two coats of stain. Old shingles 
will take more Stain than new, by reason of their 
greater absorbency. 

The covering capacity of Shingletint depends 
upon the manner in which, it is used. If brushed on, 
a gallon will cover 160 square feet, one coat, while 
1/^2 gallons will cover the same surface two coats. 
From 2j4 to 2 l / 2 gallons is sufficient to dip 1,000 
shingles, and less than a gallon more is enough for 
a brush coat in addition after the shingles are laid. 

While using "Shingletint" care should be taken 
to keep it thoroughly stirred from the bottom, so as 
to keep the coloring matter in perfect suspension 
throughout the solvent. 

L.ofC. 



and hozv to finish them. 67 

DULL FINISH. 



The adoption of dull finishes on woodwork for 
interiors is now quite popular, the colors embrac- 
ing browns, greens, reds and other shades in great 
variety, but while these dull effects have an un- 
doubted artistic value, we do not consider them so 
beautiful as the soft richness of the egg shell gloss 
that Berry Brothers' Hard Oil Finish has made so 
popular. 

Most of the colors included in the various styles 
of finish described herein may be reproduced in the, 
dull finish, the main feature being the entire absence 
of gloss. 

The production of the finish is quite simple when 
done with the materials we furnish for the purpose, 
consisting of one coat of Stain, one coat of paste 
filler, and a coat of "Lacklustre," described on page 
12. On close grained woods such as pine, white- 
wood, maple, etc., the coat of filler is omitted, the 
proper effect being produced merely by a coat of 
Stain and a coat of "Lacklustre." 

The covering capacity of Lacklustre is about 1,000 
square feet to the gallon. 



and how to -finish them. 69 



GENERAL NOTES. 



It is of the utmost importance to have a clean, importance 
1 ' ot a good 

smooth surface if a first-class finish is desired. Kh e on° 
To this end, all finishing operations in natural woods 
should be commenced by sandpapering the surface to 
be finished until it is perfectly smooth. 

Another desirable and even necessary condition 
for a first-class job is the temperature. 

Varnish, is very susceptible to atmospheric condi- 
tions and cannot dry properly in a cold room; and if 
it has been exposed to a low temperature Ions: Necessary 

* a o conditions 

enough to cause it to become thick it should be al- S^sta-*" 

ish. 

lowed to stand in a warm place until it regains 
its normal consistency. 

Reducing with turpentine may be a quicker way 
to prepare varnish for the brush, but it creates un- 
natural conditions and injures its lustre. 



Polished 
finish. 



70 Natural Woods 

The proper temperature in which to spread varnish 
is about yo°¥., and if the owner demands a first-class 
finish he should see that the necessary heat is suplied. 
Work that is to be polished should be given not 
less than three coats of Hard Oil Finish or varnish. 
E |fo fe s h sf 11 A nice egg shell gloss can be produced with two 
coats. 

The cause for many an unsatisfactory job of fin- 
Eviis of ishing may be traced to hurried work. The allow- 

hiyried _ . 

work - ance of sufficient time between coats is a rule that 
cannot be broken without injury to the finish. 

To paraphrase the old proverb, "Finish in haste, 
repent at leisure." 

The object in sandpapering the first coat of Stain, 
as directed in the foregoing, is twofold, it smooths 

Why the 

Sf 8 sta?n* down the grain which has a tendency to raise more 
papered, or less after the application of the Stain, and throws 
up the high lights by removing a portion of the 
Stain from the markings of the wood, thus 
causing them to stand out in greater contrast than 
they would otherwise. The second coat of Stain 
second is diluted so that it will not obscure the grain while 

coat of " 

lifited. it deepens the color of the field or open grain of the 
wood. This second coat of Stain should be applied 
very sparingly, and the best results are obtained by 



and how to finish them. Ji 

rubbing it on with a rag. Should it be necessary 
after the application of the second coat of Stain, a 
slight rubbing with polishing sandpaper will make 
the surface perfectly smooth, for the finishing coat. 

The object of preceding the filling with a light coat 
of thin Shellac is to protect the solid parts of the 
wood against discoloration by the filler. In other 
words, the thin film of Shellac does not fill the open 
grain of the wood to any appreciable extent, allowing ^oi'shenL 

precedes 

full ingress of the filler where it is needed, while it theflllin &- 
makes an impervious coating over the solid struc- 
ture, preventing the wood from absorbing the filler 
where it is not wanted, so that it is easily removed 
by a light sandpapering after the filler has become 
dry. 

It therefore enables a much cleaner job to be 
done than would be possible without the Shellac 
coat, overcoming the muddy or cloudy appearance 
that is sometimes seen, and enhancing the beauty of 
the finish by making a more distinct contrast be- 
tween the high lights and low lights. 

A successful job of refinishing depends largely 
upon the care bestowed on cleaning off the old sur- 
face. This is accomplished in various ways, accord- 
ing to the condition of the finish and the desired 



7- Natural Woods 

results. If the old finish is badly checked it may 
be necessary to get right down to the wood in order 
to make a satisfactory job. A good cleaning with 
old work g soap and water, followed by a judicious use of sand- 
paper may prove sufficient in some cases where the 
old finish is in fair condition. If the cleaning and 
sandpapering leaves the surface uneven in color tone, 
uniformity may be restored by a careful use of Stain, 
or paste filler colored to the right shade and reduced 
to the consistency of stain with spirits of turpentine. 
A coat of Shellac is desirable after staining, and the 
finish may then be proceeded with by the application 
of varnish in the regular way. 

B grea!y ot a Too much emphasis cannot be given to the fact 
that no varnish can dry properly over a greasy sur- 
face. 

R chuich ins In refinishing church and school seats and other 

and school . 

work of this nature, grease is always present, and 
unless it is entirely removed the finish will remain 
tacky. 

It will be noticed that in the directions for using 
our Hard Oil Finish, we invariably say, "White" or 
"Light" Hard Oil Finish. It is only absolutely 
necessary to use the "White" Hard Oil Finish, 
(which is almost colorless), when very light woods 



and how to finish them. J$ 

are to be finished in the natural color; in all other ■■«-;..- 

Hard Oil 

cases the ''Light'' may be used. SSKwe 

for the 

Whenever expense, however, is a secondary con- 
sideration, we always recommend the use of the 
"White" Hard Oil Finish on any wood,, as it is extra 
nice and well repays the small additional cost per 
gallon. 

It is the inevitable tendency of all woods to grow 
darker with age., but where it is desired to preserve 
the natural color of the wood as loner as possible, it xu-.-.. 

^ A and how 

can be done by preceding the filling. — or the var- u ' 
nishing when no filler is used — with a light coat 
of White Shellac. The reason for this is that oil 
applied directly to wood, causes it to turn dark, but 
by preceding it with a light coat of Shellac, the oil in 
the filler or varnish cannot penetrate the pores of the 
wood, which consequently retains its natural color 
longer than it otherwise would. 

In cases where the wood is filled, the Shellac coat use and 

omissio 

mav be omitted if desired, but no srreat economv is 
effected thereby as at least an additional coat of 
Hard Oil Finish (or other Finish) would be neces- 
sary to make up for such omission. 

YYe make stains in the following colors: Mahog- 
any. Cherry. Oak (of the various colors mentioned 



omission 
of SI 



Compara- 
tive 

merits of 
Oil and 
Water 
Stains. 



74 Natural Woods 

herein), Rosewood, Walnut and Ebony, and can 
furnish them either in Oil, Spirit or Water. 

Oil Stains possess some advantages over Water 
Stains, among which may be mentioned their com- 
parative immunity from freezing, although their use 
tends to obscure the grain of the wood more or less, 
and they do not produce such rich color effects as 
Water Stains. 

st w i o n rk ngold For staining old work Oil Stains should always 
be used. The reason for this is that water stains 
perform their work by absorption, and in old work 
the porous properties of the wood are either de- 
stroyed or impaired by the previous finishing, so 
that the water stain cannot penetrate. 

'•weather The "Weathered" Oak effect always calls for the 

ed" Oak. J 

use of Oil Stain on either new or old work, 
other color All other color effects on oak are best produced 

effects. L 

with Water Stains, 
covering The approximate covering capacity of varnish 
of vamish use( ^ unc [ er n0 rmal conditions is about 600 square 
feet to the gallon, one coat. 

These figures are not arbitrary, however, as one 
finisher will make a given quantity of varnish 
cover a larger area than another, much depending 
upon the manner in which it is spread. 



and hozv to finish them. 75 

A gallon of Shellac should cover from 100 to 150 °SK5& 

of Shellac. 

square feet more than the same quantity of varnish. 

The covering capacity of water stains differs ac- C cISc"f y 

° r J ... of Water 

cording to the wood on which it is used. stains. 

On open grained woods a gallon of water stain 
will cover about 650 square feet, while the same 
quantity on close grained hard woods would prob- 
ably cover 100 square feet more surface. On soft 
woods a gallon of water stain will cover from 100 
to 200 feet less than the above estimates, the ab- 
sorbency of the wood determining the covering 
capacity of the stain. 

Spirit stains, owing to their tendency to evaporate Opacify 
and strike into the wood, have a much smaller cov- stains" 
ering capacity than water stains — approximately 
one-half. 

Oil Stains have about the same covering capacity C cI?£Sfy 

of Oil 

as water stains on hard woods and will cover more stains - 
surface on soft woods, as they do not absorb as 
water stains do. In other words, a gallon of oil 
stain will cover about 600 square feet or so on 
either hard or soft woods. 

Liquid Fillers are sometimes used as first coats L S2jStir 
on close grained woods from motives of economy Jggh^d 
when shellac is considered too expensive. capacity. 



76 Natural Woods 

They are not intended for use on open grained 
woods, as they are not fillers in the strict sense of 
the word, but first coaters, and will not fill the grain 
of such woods as oak, ash, chestnut, etc. 

Liquid Fillers should not be used for first coats in 
finishing floors, or for fine jobs of natural wood 
finishing. 

The covering capacity of Liquid Filler is about 
250 square feet to the gallon. 

In the use of Paste Filler the number of pounds 
to the gallon can be controlled by the finisher and 
is determined by the wood to be filled, the more 
open grained woods requiring the filler to be heavier 
in body than the close grained woods. 

For instance, mahogany, walnut and butternut 
are open grained woods, but are not nearly so open 
grained as oak, ash or chestnut, so that for the 
three first named woods the filler need not be so 
heavy in body as for the three last named. 

The following rule for reducing paste filler for 
use is a good one: for oak, ash, chestnut and other 
very coarse grained woods, use 7 to 9 pounds to the 
gallon, while for mahogany, walnut, butternut and 
similar grained woods a mixture of 6 pounds of 
paste filler to the gallon will be found sufficient. 



capacit 

of Paste 

ller. 



Our expeii 
' ence in 
!f wood tin- 



and hozv to finish them. J J 

The covering capacity of paste filler reduced for Co c IpSf y 
use is about 300 square feet to the gallon when used Fi 
on work where no waste occurs. 

We invite inquiries from any who may desire in 
formation on wood finishing;, and as Varnish Manu- " iwngTs 

c " yours foi 

facturers of between forty and fifty years experience, i?|. ask " 
we may without affectation claim to be competent 
authority on the subject. 

We keep on hand finished specimens of the various Finished 

samples 

woods used for interior finishing purposes, which we senTfri. 
will mail, post paid, to any address, or we will finish 
up any samples of wood that may be sent us for the 
purpose, returning same with explicit instructions 
as to the mode of finishing. 

BERRY BROTHERS, Limited. 



BERRY BROTHERS, 



Limited. 



NEW YORK, 

Boston, 

Philadelphia, 

Baltimore, 

Chicago, 

Cincinnati, 

St. Louis, 

San Francisco, 

FACTORY- 
DETROIT. 



BERRY BROTHERS' VARNISH 
WORKS. 




P%^*3* 



K.jF'>- 



The Birth Place of 



HARD OIL FINISH," "LIQUID GRANITE 
AND "SHINGLETINT." 



SEP 17 ^^ 



